Making Sense of the B2Bs: IFILM, Showbiz Data, Creative Planet, REELPLAY, and FilmBazaar

Making Sense of the B2Bs: IFILM, Showbiz Data, Creative Planet, REELPLAY, and FilmBazaar

Making Sense of the B2Bs: IFILM, Showbiz Data, Creative Planet, REELPLAY, and FilmBazaar

by Eugene Hernandez/indieWIRE

(indieWIRE/ 8.18.00) — For indie filmmakers, the idea of abusiness-to-business website (B2B) is an odd concept. With theterm “B2B” bandied about frequently on financial news programs,dotcom industry trade publications and the business pages ofthe newspaper, the idea often feels way too big business and notvery relevant to the independent film and video maker. Yet, thereare a number of B2B sites catering to independent filmmakers,determined to attract an off-Hollywood site visitor.

The names of some of these sites are probably familiar — IFILM,ShowBIZ Data, Creative Planet, Reelplay.com, and Filmbazaar. Over ,the past few days, indieWIRE spoke with the heads of these companiesto discuss the state of the film B2B business, the changing dotcommarketplace and their strategies for survival.

News touting the entertainment industry dotcom has tended tofocus on the array of streaming sites like AtomFilms, IFILM,ReelShort, AlwaysI, Shortbuzz, and others — websites that soughtacceptance from the indies.

“Independent filmmakers have immediately adopted the Internet andnew technologies,” commented ShowBIZ Data CEO Oliver Eberle.Continuing he added that sites which stream short films fromindependent filmmakers have “been a great platform for the independentfilmmaker.”

The B2B sites have their eyes set on Hollywood, but certainly not atthe expense of the independent filmmaker. Dubbed “The EntertainmentSeach Engine,” ShowBIZ Data (www.showbizdata.com) contains databasesand information that seem targeted at the Hollywood industry professional,but Eberle was quick to single out its efforts at Festivals, includingthe official partner site of the recent Cannes Market(www.cannesmarket.com). Eberle is after the festival and film marketbusiness, admitting that he and other sites are all currently competingto be the official partners of high-profile industry events. In fact,the Cannes Market effort was a partnership with Film Finders, a companyrecently acquired by competitor, IFILM.

Actually, IFILM (www.ifilm.com) would appear to be a competitor to anumber of the larger B2B efforts out there given its acquisition of numerousindustry resources, including the popular Hollywood Creative Directoryand FilmFinders. The site underwent a major restructuring, shiftingfrom a site that only offered downloadable movies, to a B2B player anda directory for films at any number of sites, from Atom Films to Z.com.Meanwhile, Its IFILM Pro brand is targeting industry insiders andassistants in Tinsel Town, serving as a place for industry editorialcontent and a virtual water cooler where would-be players can vent.

In response to questions from indieWIRE, IFILM CEO Kevin Wendle commented,“What’s crucial is the ability to attract professionals to yoursite — what distinguishes IFILM is the fact that we have thousandsof entertainment industry professionals visiting us every day fornews, tracking boards, and other community services.”

One way that the site is doing that is through its editorial content,according to Wendle. Yet, as IFILM pursues coverage of festivals,the industry, and filmmakers, other sites are scaling back on suchan approach.

Just days after announcing a $38 million round of company financinglast week, Creative Planet (www.creativeplanet.com) confirmed thatit laid off thirty employees and effectively wiped out originalindustry editorial content as a part of its strategy. The companyhas decided to abandon industry articles but will still pursue contentaimed at people who are specifically involved in the productionprocess, such cinematographers or directors. The move is consistentwith Creative Planet’s goal of “building Internet based and wirelessbased production management sysems,” according to CEO Allen DeBevoise.

Creative Planet is determined to become a “production managementsolution,” according to DeBevoise, offering tools that help producers“do their job more efficiently. Watch for options like “wireless AD,”a wireless tablet for creating and modifying call sheets.

Distinguishing itself from IFILM, DeBevoise offered that the IFILM isboth a B2B site and a “business to consumer” (B2C) site, targetingthe “above the line” side.

Making distinctions between the sites is in fact important since eachof the B2Bs is following a different strategy and targeting a distinctaudience within the film community.

“The online entertainment space is made up a variety of companies thatare quite different — and they should not be lumped together for forpurposes of evaluating their viability,” commented Reelplay ChairmanMark Litwak. “Some companies, such as AtomFilms, are content providercompanies who netcast content to generate revenues. Others, likeCreative Planet try to make the production process more efficientvia the Internet. And then there are the virtual markets which allowbuyers and sellers to more efficiently conduct business.”

Commenting on the value of such “virtual markets,” Litwak explained,“We think our service will one day be considered as indispensable tosales agents as the telephone or fax.”

The Reelplay site (www.reelplay.com) is connecting buyers and sellers,offering a marketplace where distributors can connect to those who areselling films or television programs. Notably, the site is targetingindependent filmmakers through a partnership at next month’s IFFM inNew York. The IFFM site, which will fully launch in about ten days,is the only place for advance comprehensive information on IFFM films,including films websites, synopses, credits and contact info, as wellas streaming trailers.

Another B2B connecting buyers and sellers, Filmbazaar(www.filmbazaar.com), is targeting independent filmmakers throughan initiative dubbed the “Independent Outreach Program” (IOP).The company distinguishes its approach from competitors by explainingthat the IOP offers a base of “pre-qualified buyers and sellers” whocan be pitched indiefilms by budget, category or language.

The battle for dominance in the “virtual marketplace” is clearlyheating up as CEO’s witness skepticism about film dotcoms and asthey face difficulties raising additional financing for theirefforts. Filmbazaar.com CEO Kyle Scrimgeour highlighted thecompany’s longevity as a key factor in their favor.

“What makes us different is that we have done this for the last threeyears,” Scrimgeour said, “We built a base around the technology, itsdone, we are not just talking about it.”

“With the NASDAQ bubble bursting, and the collapse of such companiesas DEN, it has become harder for all dotcom companies to raise venturecapital,” commented Reelplay’s Litwak. “Only the best ideas with thestrongest management teams will receive funding.”

Will the industry and filmmakers seize the opportunities offered bythe B2B sites quickly enough to give the websites a foothold largeenough to guarantee their survival? The refining of business plansand the talk of consolidation within the space show the concernsraised by each of the executives interviewed.

“It’s a litle bit crowded,” commented Scrimgeour. “I think in thenext year there you will see consolidation,” offered Litwak, adding,“The weaker companies will go out of business or be acquired.”Showbiz Data’s Eberle agreed, asking, “How many really big playerscan this market sustain?”

“The market has certainly changed, but that creates opportunitiesfor the companies that are well funded, with strong strategic partners,and a long-term vision,” summarizes IFILM’s Wendle. “The change inthe market has stopped a dozen would-be competitors, and that cutsa lot of clutter in our space.”

“Everybody has been very competitive, I think people will have tostart charging and monetize their business model,” offers Eberle.”Over the next 6 – 12 months, free will go a way to a certain extent,you can’t keep spending tens of millions of dollars and have norevenue to show show for it.”